DOCSLIB.ORG

SL Magazine July 2008

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SL Magazine July 2008 STATE LIBRARY OF NEW SOUTH WALES MAGAZINE ECO-Fashion mEans grEEn is tim thE nEw black storriEr why everyone and his loves Jane austen thE facts studio about scurvy July 2008 ISSN 1833-1343 JULY 2008 ISSN 1836-1722 THE LIBRARY SHOP: OPEN 7 DAYS Weekdays 9 am 5 pm • specialises in Australian books, with a more Weekends 11 am 5 pm comprehensive range than other bookshops Ground floor, Macquarie Street • offers one stop shopping for gift buyers. If you re going Telephone: 02 9273 1611 overseas consider our quality Australian books, prints, Fax: 02 9273 1249 maps, greeting cards, photos and souvenirs. Email: [email protected] sl.nsw.gov.au/shop • offers an online shop which showcases Australian books, as well as hundreds of art prints from the The Library Shop is run by the State Library of NSW. Library s pictorial, map and photographic collections All revenue earned goes to the State Library. • has an excellent phone order service. When it comes to Australian books you can trust our know-how! contents 5 3 From the State Librarian 4 Do you know …? Rare books: A tale of love 5 Behind the scenes On patrol in Antarctica 6 100 years ago … the Great White Fleet arrived 7 Snapshot 8 The artist’s studio 11 Tim Storrier AM on Studio 12 Home truths 6 14 Tales from the Heritage Collection 16 The scourge of scurvy 18 Discover what’s online 20 Jane Austen: One of life’s great treats 12 8 14 MAGAZINE 1 25 21 On this day 22 The quest for answers and knowledge: Fellowships at the Library 21 24 Our favourite cookbooks 25 What’s on the menu? Cafe Trim recipe: Hearty ham and vegetable soup 26 An indispensable kitchen aid 27 Cookbook collector extraordinaire 28 Eco-fashion makes an impact 29 Climate change advocate Sam Meers 30 Prize-winning books 31 Top 5 Library Shop picks 32 Upcoming events 33 Win a Studio book 28 34 Event highlights 36 Q & A with Andrew Daddo Published by State Library of new South Wales The Library Council of nSW macquarie Street Sydney nSW 2000 Phone 02 9273 1414 Fax 02 9273 1255 Editor email [email protected] elaine Stewart www.sl.nsw.gov.au Phone 02 9665 2329 email [email protected] July 2008 Vol. 1 no. 1 iSSn 1836-1722 P&D 2704-06/2008 Print run 8000 (mailout 4500) Design & production anna Cointrel Cover Tim Storrier in his studio at Bathurst, Photography photo by R ian Lloyd imaging Services, State Library of nSW Phone 02 9273 1482 Printing 30 Bloxham & Chambers, Sydney Paper Spicers impress Silk 200 and 130 gsm 2 MAGAZINe LIBRARy UPDAte to our latest and very exciting initiative Welcome from the State Library — SL magazine. We have always been very proud of our magazine, but with so many wonderful things to showcase it’s never been quite big enough! Well, now we have doubled the size, and added a variety of new and regular features on cooking, fashion, books (including specials from the Library Shop), a behind-the-scenes look at what we do, upcoming events, as well as our usual array of stories on items from our wonderful collection — from the quirky to the positively amazing! We launch our new venture with a peek into the studios of some of Australia’s most significant artists. Studio: Australian painters photographed by R. Ian Lloyd is now on show at the Library and the images included in our story are guaranteed to lure you in to see it. We preview another exhibition coming up in August, Home truths — this time featuring documentary photo-interviews offering a compelling and eloquent record of the lives of ordinary people. We explain how the scourge of scurvy was finally overcome, delve into the Library’s first-class early Australian cookbook collection for some intriguing dinner menus and recipes, and we show you how to make green the new black in our eco-fashion story. Contemporary artist Tim Storrier Am talks about the exhibition and book Studio, philanthropist Sam Meers talks about climate change, and radio presenter and children’s author Andrew Daddo answers some probing questions in our Q & A. We hope you like the new look magazine but let us know what you think by writing or emailing our editor. Happy reading! Regina Sutton NSW State Librarian & Chief Executive From the State Librarian MAGAZINE 3 Do you Left: The Worship of Priapus (the greek god of Fertility), with 19 female and five male figures ? surrounding the terminal figure of know ... this divinity from Hypnerotomachia Poliphili, Francesco Colonna,1499. What was the price of Safe RB/LQ2/C petrol in 1966? What Below: Poliphilo sleeps and dreams was a typical school week like for a primary schoolgirl in rural NSW in about 1914? Do you know the name and address of the lady who Charles Dickens used as the basis for Miss Havisham in Great Expectations? (She lived in Newtown and was buried in Newtown’s St Stephen's Church.) Does the Library have any photographs from early kinetoscope parlours in Australia? These are just some of the questions our experienced librarians have to answer every day! Rare Books: a tale of love Fortunately, because they are experts in searching for information ne of the most celebrated volumes in the State Library’s vast collection is and have an excellent knowledge of the Hypnerotomachia Poliphili — an allegorical love story penned by a the Library’s extensive collections, O Dominican monk, Francesco Colonna, around 1467. they can deal with many enquiries on The author’s identity, still disputed by some scholars, can be identified through the spot — other enquiries might take the decorated initials of each of the 38 chapters. The letters create the acrostic a bit longer. POLIAm FRATER FRANCISCUS COLONNa PERAMAVIT (Brother Francisco Colonna Our free Telephone Inquiry desperately loved Polia). Service operates Monday to Friday Written in an odd hybrid of Italian and Latin, the work opens with the protagonist from 9 am to 5 pm on telephone Poliphilo falling asleep under a tree, while contemplating his unrequited love for Polia. (02) 9273 1414. The dream which follows describes Poliphilo’s pursuit of his lover through a fantastic, Alternatively, you can use our mythical world of art, landscape and architecture. online inquiry form or chat to a The beautifully designed and illustrated volume was published in 1499 by librarian on the live reference service Aldus Manutius, a famous Venetian printer of the late fifteenth and early sixteenth AskNow at <www.sl.nsw.gov.au/ century. It was commissioned by Leonardo Grassi of Verona and dedicated to the services/ask/index.html>. Duke of Urbino. The 39 woodcut initials and 171 illustrations contained in the work have been attributed at various times to Renaissance artists such as Benedetto Mantegna, Bellini and Botticelli. The erotic nature of the illustrations and the text has been widely discussed. One of the most valuable and censored woodcuts is the large, phallused Priapus image, intact in the Library’s copy, but often mutilated in copies held in other libraries, including the Vatican’s. The Library’s volume, which was purchased in 1918, contains a number of marginal notes in Latin and is bound in calf. Maggie Patton, Content Coordinator, Discover atmitchell collections In 2007, Maggie Patton was awarded a State Librarian s Fellowship to conduct a review of the rare printed collections at the State Library. She will identify and describe rare treasures, and investigate options for improving access to this significant part of the collection. 4 MAGAZINe Behind the scenes ext time you walk around the While the neglect suffered by the Mitchell Library building, have film poster caused considerable Na look through the basement damage, poor techniques used in the windows into the Library’s Collection past can present even greater Preservation labs and you’ll probably conservation challenges. Sticky tape is a see conservator Lang Ngo and her notorious example. Today’s conservators colleagues at work. The fragile items ensure that their work can be reversed if you’ve seen in exhibitions on the first future techniques and standards require floor sometimes spend as many months it. Materials such as the paste used on undergoing conservation work as they the poster are water-soluble. do on display. Once on display, conservators Found on a rubbish dump, decades monitor the condition of items. after its creation, the 1930s billboard ‘Works on paper are considered poster for the film ‘Strike me lucky’ sensitive material and require strict it’s Mo, now featured in the Nelson standards for display,’ says Lang. Meers Foundation Heritage Collection With exhibition periods limited to (see p. 14), needed intensive three months to minimise light damage, conservation treatment before it could different sections of the ‘Strike me lucky’ face the public. Conservators removed billboard will be shown throughout 2008. dirt with a soft brush and applied Cathy Perkins, Publications & Design Japanese tissue with wheat starch paste to repair tears. Matching its bright colour above: The ‘Strike me lucky’ poster’s palette with watercolour paint, they damaged surface is retouched with watercolour paint replaced areas of detail lost from the Right: Lang ngo, a conservator at the surface of the 2 m x 2 m poster. State Library, installs the poster Lifesaver Steve martin ‘on duty’ in antarctica with the maPnHa UBeTaeBa in the background. On patrol in Antarctica It s a little known fact that an Australian holds the world record for patrolling the earth s most southern ocean. The State Library s own Steve Martin, exhibition curator (and fully qualified lifesaver) has been visiting Antarctica for about 15 years as a guest lecturer on board Aurora Expedition ships.
Load more

Recommended publications
  • Exhibiton Checklist
    FACE TO FACE An exhibition of portrait and figurative photography from the Albury Regional Art Gallery Collection 29 January – 6 March 2005 Face to Face brings together a selection of works from the extensive Albury Regional Art Gallery Collection of Australian photography that focuses on the human figure including formal and informal portraits and a variety of ideas expressed through narrative, composition and the many avenues available through photographic means. Since its beginnings in 1982, the collection has evolved into one of the finest photographic collections in the country. Seventy-five portrait and figurative works have been specially selected for exhibition at S.H. Ervin Gallery in Sydney. Following the establishment of the Gallery, a collection policy was adopted in 1982 and cited one of the major areas of focus to be Works on Paper, with an emphasis on Photography. To support this mission, the National Photographic Purchase Award was founded in 1983. Since 1999 the Albury Wodonga Regional Art Foundation has sponsored the Award, recognising the value of the collection and the enhanced reputation of the Art Gallery and its standing as a leading supporter of photographic practice in Australia. The National Photographic Purchase Award continues to be a major biennial event attracting artists from a national field and adding new works to the collection. Early purchases and gifts included important suites of work by Max Dupain, Harold Cazneaux, and the popular Siblings series by Robert Rosen. The collection now includes the work of David Moore, J.J. Voss, Brenda Croft, Destiny Deacon, Leah King Smith, Tracey Moffatt, Fiona Hall, Philip Quirk and many other important Australian photographers who have key works included in the exhibition.
    [Show full text]
  • 2013 Olive Cotton Award List of Finalists
    Olive Cotton Award 2013 – list of exhibition finalists 1. Michele Aboud Sydney NSW Cate Blanchett digital print 2. Belinda Allen Bundeena NSW Dear departed - my sister Kate pigment inkjet print on cotton rag paper 3. Melissa Anderson Cleveland QLD Golden anniversary archival pigment print on fine art photography paper 4. Daniel Arnaldi Sydney NSW Tawf the butcher digital print 5. Narelle Autio Adelaide SA Dash and the spectrum pigment print on cotton rag paper from film 6. Lyn Balzer and Anthony Perkins Sydney NSW Jenny Kee at the Altar Lambda print 7. Janie Barrett Sydney NSW Labelled digital print 8. Katalin Bayer Sydney NSW Six pigment print on cotton rag paper 9. Simon Bernhardt Sydney NSW Jessica TBA 10. Brett Boardman Sydney NSW Mick Deni, Ute Muster 2011 Lambda print 11. Bonney Bombach Hideaway Bay QLD Homeward journey (Wayan) digital print 12. Sally Bongers Sydney NSW Australia archival inkjet print from 6x7" film on cotton rag 13. Chris Budgeon Melbourne VIC Chet Faker archival pigment print 14. Elaine Bull Newcastle NSW Double dare print from medium format Ektachrome film 15. Trish Callaghan Murwillumbah NSW Now, you are cats digital print 16. Michael Cook Brisbane QLD Stickman #10 inkjet print on archival Hahnemuhle cotton paper 17. Michael Corridore Sydney NSW Elisabeth archival pigment print 18. Ross Coulter Melbourne Vic Self portrait as Aussie Jesus (after Durer) type C print 19. Bryson Coverdale Banora Point NSW Cousins - 20 years on giclee print 20. Athene Currie Mt Glorious QLD 8 TBA 21. Helga Dalla Buddina QLD My boys fine art archival cotton rag 22.
    [Show full text]
  • National Portrait Gallery of Australia Annual Report 13/14
    National Portrait Gallery of Australia Annual Report 13/14 National Portrait Gallery of Australia Annual Report 13/14 © National Portrait Gallery of Australia 2014 issn 2204-0811 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical (including photocopying, recording or any information storage and retrieval system), without permission from the publisher. This report is also accessible on the National Portrait Gallery’s website portrait.gov.au National Portrait Gallery King Edward Terrace Canberra, Australia Telephone (02) 6102 7000 portrait.gov.au 24 September 2014 Senator the Hon George Brandis qc Attorney-General Minister for the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the National Portrait Gallery of Australia Board, I am pleased to submit the Gallery’s first independent annual report for presentation to each House of Parliament. The report covers the period 1 July 2013 to 30 June 2014. This report is submitted in accordance with the National Portrait Gallery of Australia Act, 2012 and the Commonwealth Authorities and Companies Act, 1997. The Performance Report has been prepared according to the Commonwealth Authorities (Annual Reporting) Orders 2011. The financial statements were prepared in line with the Finance Minister’s Orders made under the Commonwealth Authorities and Companies Act, 1997. Yours sincerely Dr Helen Nugent ao Chairman national portrait gallery of australia annual report 2013/14 i Contents Chairman’s letter 3 Director’s report 7 Agency overview 13 Accountability and management 17 Performance summary 23 Report against corporate plan 27 Financial statements 49 Appendices 1.
    [Show full text]
  • Home Truths Exhibition Guide
    Loran, 14 & Kiakaha, 14 28 November 2000, Ruth Maddison, silver gelatin photoprint, PXE 906/1 I want to stay in Eden & get married & have babies, but I feel I shouldn’t say that. Loran The Picture Gallery presents highlights from the State Library’s collections. The State Library acknowledges the generous support of the Nelson Meers Foundation and the assistance of the volunteer guides in the Picture Gallery. A free exhibition from 18 August to 7 December 2008 Exhibition opening hours: 9 am to 8 pm Monday to Thursday 9 am to 5 pm Friday, 10 am to 5 pm weekends State Library of New South Wales Macquarie Street Sydney NSW 2000 Telephone (02) 9273 1414 Facsimile (02) 9273 1255 TTY (02) 9273 1541 Email [email protected] www.sl.nsw.gov.au Curator: Alan Davies Project manager: Jo de Monchaux Editor: Helen Cumming Graphic designer: Marianne Hawke Exhibition designer: Elin Thomas Photography by Imaging Services – principal photographer Phong Nguyen Printer: Macdonald and Masterson Paper: KW Doggetts’ HannoArt Silk, cover: 200gsm, text:170gsm Print run: 3000 P&D-2750-08/2008 ISSN 1448–2622 ISBN 0 7313 7188 7 © Ruth Maddison, Pippa Wischer and Hayley Hillis, 2008. All photographs are copyright. Apart from any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright Act 1968, no photographs may be reproduced by any processes without permission. Inquiries should be directed to the publisher. © State Library of New South Wales, August 2008 FOREWORD The State Library of New South Wales has Australia’s most important photographic collection, with over a million images recording changes in our society and environment, from 1845 to the present.
    [Show full text]
  • Exhibition Catalogue
    2013 Olive Cotton Award In 2005 Tweed River Art Gallery launched the Olive Cotton Award for photographic What have we here? Portraits from all over Australia by photographers of all ages portraiture, funded by Olive Cotton’s family and dedicated to her memory as one of and inclinations, by professional photographers and artists, and by others who might Australia’s leading twentieth century photographers. not see themselves as photographers but who love photography. On the face of it there are only a few common threads, portraiture being one and the recent date of The Award has grown and gained national recognition attracting entries from well- the portrait being another. This award after all is admirably open-ended with the only known and emerging photographers across Australia. Until 2009 the Award offered restrictions being that the portrait has been completed since 1 May 2011 and that it a $10,000 annual acquisitive prize. has not been previously exhibited. The Olive Cotton Award now boasts a major acquisitive biennial prize of $20,000, And yet what has emerged is surprisingly coherent. First, there is a compelling selected by the Award judge. In addition, the Friends of the Tweed River Art Gallery group of portraits that relate to the human life cycle, beginning with a double Inc fund $4,000 for the acquisition of portraits from the exhibition entries to be portrait taken in pregnancy, spanning babyhood, childhood, adulthood, ageing, chosen by the Gallery Director. Visitors to the exhibition may also vote for their death and beyond. I think of the portraits in this group as having two roles at “people’s choice” which awards $250 for to the most popular finalist.
    [Show full text]
  • Natalie Thomas [email protected] 0400 869 922
    Natalie Thomas [email protected] 0400 869 922 Selected Individual Exhibitions 2020-21 Stage Fright, Gertrude Contemporary, Melbourne 2019 Postcards from the Edge, The National, Carriageworks Sydney 2018 Finding the Field, True Estate ARI, Melbourne Let’s Go Clubbing, Ankles ARI, Sydney 2014- nattysolo.com, One woman, one camera, no film, performance and writing project, online outcome 2013 Project Space Life, West Space 2012 Yesterday’s News, CCP Yesterday’s News Canberra Contemporary Art Space 2009 For what it’s worth, Hell Gallery 2008 Appropriation, how Appropriate is it? See you tommorrow, Until Never 2007 Chorus Line, TCB 2006 CTRL+ALT+DEL< Dysfunctional Feed, Picassol, CCAS 2004 Not only but also, Institute Modern Art, Brisbane Honk for Art, IASKA, International Artspace, Kellerberrin W.A. 2003 nat&ali present the best of…. 24hr art, Darwin 2002 nat&ali present the Artbar, CCP 2001 works on paper and that, First Floor Artists Run Initiative slap&tickle, PB Gallery, Swinburne University 2000 friendship is…. First Floor Artists Run Initiative Selected Group Exhibitions 2019. The National, Carriageworks, Sydney 2017 Unfinished Business: Perspectives on art and feminism, ACCA The End of Time. The Beginning of Time – Gertrude Contemporary Final Show before relocation Every Dog Will Have Its Day – Casula Powerhouse Arts Centre 9 x 5 Now Exhibition: Art 150, 150 years of the VCA, Margaret Lawrence Gallery The ARTBAR – MCA curated by Julia Gorman Laura, Mars Gallery 2016 The Joke, Neon Parc and Bus The Blindside Festival, Blindside 2015
    [Show full text]
  • Dark Rooms: Women Directing the Lens 1978-98
    Dark Rooms: Women Directing the Lens 1978-98 12 July – 25 August 2018 Exhibition Labels Dark Rooms Women Directing the Lens 1978–98 12 July – 25 August 2018 Photographic media proliferated The Dark Rooms exhibition surveys works throughout Australia during the 1970s, that are emotional and intensely charged. following the increased affordability of Evocations of intimacy, fantasy, and trau- snapshot cameras and colour film ma appear alongside humorous, politically processing. By the 1980s, colour astute, and confrontational pieces. photography was widely used by artists, who continued to explore a range of Drawing largely on works from the Griffith photographic approaches and techniques, University Art Collection, Dark Rooms also from the immediacy of ‘point-and-shoot’ features loans from artists, private collec- techniques to staged compositions. Their tions, and public institutions, including work referenced narratives of history and The Ian Potter Museum of Art, University power and appropriated artistic strategies of Melbourne, and HOTA: Home of the from advertising, cinema, and the Arts, Gold Coast. televisual. By the 1990s, computer- generated imagery and increased access Artists: Maree Cunnington, Destiny to the internet offered new languages with Deacon, Linda Dement, Marian Drew, which to address pressing issues. Bonita Ely, Fiona Foley, Elizabeth Gertsakis, Lesley Goldacre, Janina Green, Photographs made by many women artists Fiona Hall, Leah King-Smith, Lindy Lee, during this period differed in a significant Anne MacDonald, Ruth Maddison, aspect by refusing the male gaze. Against Wendy Mills, Tracey Moffatt, Jill Orr, Nat the backdrop of the feminist movement Paton, Eugenia Raskopoulos, Julie Rrap, and influential thinking and activism in Robyn Stacey, VNS Matrix (Virginia arts and politics, women took authorial Barratt, Francesca Da Rimini, Julianne agency into their own hands.
    [Show full text]
  • Flesh After Fifty
    Flesh after Fifty CHANGING IMAGES OF OLDER WOMEN IN ART i Fun to do something different and out of my comfort zone Recently separated and I am focusing on my joy of who I have become and where I want to go I WANT MORE OF THE TRUTH TO BE OUT IN THE OPEN – HERE IS ONE MORE LITTLE BUT POTENT STEP I am intrigued by our cultural embarrassment of being naked, and the complicated relationship with our bodies This is a present to myself and sign of new beginnings as I embrace menopause and becoming older I feel it is important for the general public to know that many women of all ages have had mastectomies, and not all women have reconstructions, we are all beautiful FREE AT LAST I hate the invisibility of older women that society demands – I’m grateful for my body I want to thank my body for caring for me in this life time, even though it is old now OLDER WOMEN ARE JUST PEOPLE Helping to promote wellness and positive images for older women I CAN BE FEARLESS Quotes from participants in 500 Strong ii Flesh after Fifty CHANGING IMAGES OF OLDER WOMEN IN ART 1 Foreword Jane Scott 2 We live in a society swamped with images, where high value is placed on physical appearance and an association between attractiveness and youth, particularly for women. Flesh after Fifty exposes and challenges negative stereotypes of ageing while celebrating positive images of older women through art. Promoting change in attitudes about what constitutes a healthy body image is at the core of this exhibition.
    [Show full text]
  • Australian Dreams: Picturing Our Built World Exhibition Checklist
    Australian Dreams: Picturing our Built World National Library of Australia 28 March 2020 to 19 July 2020 Exhibition Checklist William Bradley (1758–1833) View of the Governor's House at Sydney in Port Jackson, New South Wales, Jan'y 1791 watercolour Pictures Collection nla.cat-vn1291412 Augustus Earle (1793–1838) Government House and Part of the Town of Sidney N.S. Wales, 1828 watercolour Rex Nan Kivell Collection (Pictures) nla.cat-vn2316026 Augustus Earle (1793–1838) Families Camped in the Port Stephens Area, New South Wales, 1826 watercolour Rex Nan Kivell Collection (Pictures) nla.cat-vn793540 Augustus Earle (1793–1838) The Farm House of W. Lawson Esqre., N.S. Wales c.1826 watercolour Rex Nan Kivell Collection (Pictures) nla.cat-vn2326762 Augustus Earle (1793–1838) Mr. Cowell's Farm on the Coast, 60 Miles South of Sidney c.1827 watercolour Rex Nan Kivell Collection (Pictures) nla.cat-vn793923 1 Livingston Hopkins (1846–1927) Clyde Street, Millers Point, The Rocks 1893 etching Pictures Collection nla.cat-vn2958787 Livingston Hopkins (1846–1927) Man Carrying Shoulder Baskets, The Rocks, Sydney 1886 etching Pictures Collection nla.cat-vn1552623 Charles Bayliss (1850–1897) Wentworth House Boarding House, Charlotte Place, Later Grosvenor Street, Sydney, c.1875 albumen silver photograph Pictures Collection nla.cat-vn4266874 Charles Bayliss (1850–1897) Pitt Street from Hunter Street, Sydney, New South Wales, c.1880 albumen silver photograph Pictures Collection nla.cat-vn4269708 Charles Bayliss (1850–1897) Sydney Technical College Building Exterior, 1889, 2 in Photographs of Premises Occupied by the Board of Technical Education of New South Wales, 1889 albumen silver photograph Pictures Collection nla.cat-vn2394399 2 Charles Bayliss (1850–1897) St.
    [Show full text]
  • La Trobe Journal 100 Notes and Contributors
    118 Notes Welch: Andrea Palladio, Les quatre livres de University of Melbourne, from l’architecture d’André Palladio 22 February to 22 June 2014, in the Keith 1 James Stevens Curl, ‘Palladio, Andrea Murdoch Gallery at State Library Victoria, (1508–80)’, Oxford Dictionary of Architecture www.slv.vic.gov.au/search-discover/ and Landscape Architecture, 2nd edn, galleries/rome-piranesis-vision, accessed Oxford, UK: Oxford University Press, 2006, 18 Mar. 2017. Colin Holden, Piranesi’s www.oxfordreference.com/view/10.1093/ Grandest Tour: From Europe to Australia, acref/9780198606789.001.0001/ Sydney: NewSouth Publishing acref-9780198606789-e-3320?rskey= in association with State Library OHxKXH&result=3901, accessed Victoria, 2014. 18 Mar. 2017. 8 Harriet Edquist, Building a New World: 2 Alina A Payne, The Architectural Treatise A History of the State Library of Victoria, in the Italian Renaissance: Architectural Melbourne: State Library Victoria, 2012, Invention, Ornament and Literary Culture, p. 113, guides.slv.vic.gov.au/ld.php? Cambridge, UK: Cambridge University content_id=27124155, accessed Press, 1999, pp. 34–51 and 170–213; Pierre 18 Mar. 2017. de la Ruffinière du Prey, The Villas of Pliny: From Antiquity to Posterity, Chicago & Kirsop: Jean de La Fontaine, Fables choisies, London: University of Chicago Press, 1994, mises en vers pp. 16–17. 1 Daniel Berkeley Updike, Printing Types: 3 Giles Worsley, Classical Architecture in Their History, Forms, and Use: A Study in Britain: The Heroic Age, New Haven, CT: Survivals, 2nd edition, 2 vols, Cambridge, published for the Paul Mellon Centre for MA: Harvard University Press, 1937, Studies in British Art by Yale University vol.
    [Show full text]
  • Annual Report 2019–20 Snapshot of the National Gallery of Australia
    Annual Report 2019–20 Snapshot of the National Gallery of Australia Who we are What we do The National Gallery of Australia The Gallery provides opened to the public in October exceptional experiences of 1982 and is the Commonwealth of Australia’s rich visual arts Australia’s national cultural institution for the culture. Through the national collection, visual arts. Since it was established in 1967, exhibitions, educational and public programs, it has played a leadership role in shaping outreach initiatives, research and publications, visual arts culture across Australia and its infrastructure and corporate services, the region and continues to develop exciting and Gallery is a model of excellence in furthering innovative ways to engage people with the knowledge of the visual arts. The Gallery national art collection. makes art accessible, meaningful and vital to diverse audiences, locally, nationally and internationally. Our purpose and outcome Our staff As Australia’s pre-eminent visual staff at 30 June 2020. The Gallery arts institution, the Gallery 321 has an inclusive workforce, provides cultural and educational employing people with a disability and people benefits for the community and enhances with culturally diverse backgrounds, including Australia’s international reputation. The Aboriginal and Torres Strait Islander people. Gallery’s one outcome, as outlined in the Women represent 65% of the Gallery’s Portfolio Budget Statements 2019–20, is workforce and 67% of its Senior Management ‘Increased understanding, knowledge and Group. Detailed staffing information is on enjoyment of the visual arts by providing pages 71–4. access to, and information about, works of art locally, nationally and internationally’.
    [Show full text]
  • Centre for Contemporary Photography 2019 Annual Report
    Centre for 2019 Contemporary Annual Photography Report Centre for Contemporary Photography 2019 Annual Report Publisher Centre for Contemporary Photography 404 George Street, Fitzroy VIC 3065, Australia +61 3 9417 1549 | [email protected] | www.ccp.org.au © Centre for Contemporary Photography and the authors, 2019 Staff Adam Harding Director Eric Nash/ Irina Asriian General Manager Madé Spencer-Castle Curator, Exhibitions Linsey Gosper Curator, Engagement Adelina Onicas Communications Manager Sarah McKechnie Gallery Manager Hugh Hirst-Johnson Assistant Gallery Manager Fore Edge Business Services Bookkeeper Board of Management Jane Hodder Chair Jane Grover Deputy Chair Geraldine Ilott Treasurer Peter Lovell Secretary Genevieve Brannigan Patrick Pound Judy Williams Michael McCormack Hoda Afshar Centre for Contemporary Photography 404 George Street, Fitzroy VIC 3065, Australia +61 3 9417 1549 | [email protected] | www.ccp.org.au TW @ccp_australia IG @ccp_australia FB /centreforcontemporaryphotography Cover: CCP Photo Fair 2019 Contents 04 Mission and Profile 06 Chair’s Introduction 08 Director’s Report 12 Statistical Snapshot 14 Performance Review 16 Board 20 Staff, Volunteers and Interns 23 Exhibition Advisory Committee 24 Exhibition Program 26 Exhibitions in Focus 40 Touring and Offsite Exhibitions 42 Education and Public Programs 52 Membership 53 Marketing and Promotion 55 In Response 57 Financial Statements 78 Sponsors 79 Patrons and Donors Centre for Contemporary Photograhy 2019 Annual Report Mission and Profile GOVERNMENT PARTNERS MAJOR SPONSORS PRESENTATION PARTNERS Centre for Contemporary Photography CCP occupies a unique place within (CCP) is the leading contemporary arts Australian contemporary arts organisations; space in Australia dedicated to photography, a place where emerging photo-based video and related fields.
    [Show full text]